I'm of Neil Young's generation. Neil Young's songs have spoken to what it's like to be at least a white male of his generation over the years. Endlessly, he's sung about the stuff that I really care about. He's put into words the feelings that hit you at different transitional moments in life.

I've never had a good game plan. At a certain point, making independent films became more and more appealing to me because I like freshness and originality.

Extraordinary people are the Green Berets and the Navy Seals and the Olympic athletes - these are the ones who can face these extraordinary physical challenges and be triumphant.

Everything I've made - it doesn't mean they've all been good - but everything I've made so far, big or little, fiction or documentary, has been something that I've been really enthusiastic about.

I didn't go to film school so my learning was done out in public and showed up on the screen.

If you're doing a music film, you've got to be singing about something.

When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!

I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.

Music films are great, but they can never compete with a live performance. Live music is what it is. It's the whole point. You experience it in the moment.

A trilogy is a pretty abstract notion. You can apply it to almost any three things.

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.

It's such a rich experience when you enter into a subject from a documentary point of view. It's hard for fiction to compete with that.

If you're doing a music film, you've got to be singing about something. Or, you have to be singing in a vocabulary that has tremendous appeal or else people are not going to want to sit there for eighty or ninety minutes hearing this stuff.